KARACHI: Curator Kaif Ghaznavi, a young ceramist from Lahore, seems to be all set to repeat her success. The NCA graduate’s show in Lahore last year in February, titled the Clay Clan, was quite a success. That induced her to go all out to pick up four young ceramists from Pakistan and four from across the Wagah border to put up what she called Clay Clan 2 at the V.M. Art Gallery in Karachi.

“All the eight artists have combined ceramic with mixed media and displayed them on installations,” says Kaif, who teaches ceramic at her alma mater.

Where did the funds come from? Her husband Zeeshan, a miniaturist in great demand, has donated a painting, the sales proceeds of which will help finance the project. But the artwork has not yet been sold. “I have emptied my bank account,” she says in a hushed tone, only to add that the gallery has been generous in giving their premises and meeting the administrative expenses. The artists have all come on their own.

The New-Delhi based Rekha Agarwal, who is also the editor of the quarterly publication Indian Ceramic, has put up an interesting installation where her images appear on a computer monitor. One can only see the fleeting digital images on the screen from an opening, which has two parts of the brain on both sides, one made of clay and the other of plaster of Paris.

Karachi-based Akber Moeen has what would seem like the bioscope of yesteryear, but there is a catch to it, when you look inside you can see yourself in a mirror but somewhere above it is a camera, so people outside can see you seeing yourself. It is more gimmickry than art, someone said. I was, however, impressed with sculptures that he had made of empty water and cold drink bottles. That was sadly not on display. He had just brought a photo album carrying the pictures of the sculptures.

Ranchi-born Reyaz Badaruddin, who holds a Master’s in fine arts, with specialisation in ceramics, from the Benaras Hindu University does studio pottery and does it very well. Even if he makes flower vases, there is a sculptural appearance to it.

Shruti Bansal, a Haryanvi, from Delhi had some attractive pieces to display.

The most notable is what she has titled Uran (flight). A combination of fibre cast and ceramic, it shows that the borders between countries and people are physical but love and friendship manage to cut across all boundaries. “I have titled it Uran because it is the spiritual flight that I want to illustrate, particularly in the context of Pakistan and India,” she says while referring to the wall installation.

Vinod Daroz from Baroda, who works in ceramic, glass and porcelain, has brought with him some fine pieces in porcelain, thread and silver leaf, which are a part of his temple pieces, the kind we don’t get to see in our country.

Maliha Peracha from Lahore has photo-transferred images from old magazines and newspapers onto something which is a combination of paper and clay and the results are quite exciting.

Ghaniya Badar, who had to rush back to Islamabad for personal reasons, is represented by her installation of bowling pin and sand. “She is trying to depict the military action against the people who had hidden in the Lal Masjid last year,” says the curator.

Shazieh Gorji has worked with wood kiln firing on a very high temperature. The beauty of her work lies in the textures within textures and the effects that fire has created on her pieces are rich and enchanting.

The exhibition will continue till May 28. –Asif Noorani